[5]Idea, dis. ix. 230. Dr. Chalmers writes to Blanco White: "You speak in your letter of the relief you have found in music.... I am no musician and want a good ear, and yet I am conscious of a power in music which I want words to describe. It touches chords, reaches depths in the soul which lie beyond all other influences.... Nothing in my experience is more mysterious, more inexplicable." (Blanco White's Life and Correspondence, edited by Thom, 1845, vol. iii. p. 195.)
[6]Oxford University Sermons, pp. 346, 347. Writing to her brother about the passage on music, partly cited above, beginning: "There are seven notes in the scale, make them fourteen; yet what a slender outfit for so vast an enterprise! What science brings so much out of so little! Out of what poor element does some great master in it create his new world!" Mrs. J. Mozley says, "We are pleased at your tribute to music, but what do you mean by fourteen notes? Do you mean the twelve semitones, as some suggest? I am indignant at the idea. I think you knew what you were saying. Please tell me when you write." (Mozley, Corr. ii. p. 411.) He replies: "I had already been both amused and provoked to find my gross blunder about the 'fourteen.' But do not, pray, suppose I doubled the notes for semitones, though it looks very like it. The truth is, I had a most stupid idea in my head there were fifteen semi tones, and I took off one for the octave. On reading it over when published, I saw the absurdity. I have a great dislike to publishing hot bread, and this is one proof of the inconvenience." (Ibid.) The Second Edition has "thirteen notes," which is correct, if the octave be included, but later editions go back to "fourteen."
[12] Mozley, Corr. i. p. 71. On one occasion (between 1860-70) two Oratory boys went up to his room to make a complaint, and hearing only "fiddling" the other side of the door, made bold to enter, but their visit was ill-timed. "Every Englishman's house is his castle," said the Father, and he "went on fiddling." This term, "Father," is what every one in the house called Dr. Newman, and correctly, as being Father Superior of the Oratory. It is the name (it need scarcely be added) that he liked to be called by.
[13]Ibid. i. p. 104: Provost Hawkins, at this time a Fellow, and ultimately succeeding Copleston, had no love for music, and rather despised such a thing as being "a sign of an effeminate (or frivolous) mind." He used one or other of these terms, or both.
[16] She writes in July, 1843: "Now I do so wish, John, you would pay us a visit. I will practise hard to get up some Beethoven." (Mozley, Corr. ii. 415.)
[17] With this difference, however, Philomel had not to learn her regrets: she knew them already.
[18]Reminiscences, i. pp. 247, 248, Second Edition, 1882. Of statements in this work the Cardinal humorously observed: "When a thing won't stand on three legs, Tom supplies a fourth." The Father played the viola a good deal, which is larger than the violin; hence Mr. Mozley's "different instruments," &c.
[19] One of the boys was once lent this aged green baize bag, and losing it, never heard the end of it. Whenever there was question of lending him anything else, the Father would say very quietly: "I think I lent you a green baize bag." Nor would he allow that it was lost: "You mean mislaid."
[20] A friend remembers Father Whitty, S.J., bringing to Maryvale Mr. McCarthy and Mr. M'Quoin, young converts and subsequently priests (the former is still living in Jersey). Both played the violin, so an instrumental quartet was essayed (a rare event in the community), the executants being the two named, and Fathers Newman and Bowles (violoncello).
[21] Father Lockhart, in the Paternoster Review for September, 1890.
[27] The late Canon Mozley said that Chopin was "certainly a Manichean; he did not believe in God; he believed in some spirit, not in God;" while "the moral grandeur of Beethoven's genius was always present to him, as, with less force, was also Mendelssohn's: 'They believed in God—their music showed it.'" (Letters, p. 353, Edit. 1885.)
[28]Idea, dis. iv. 80, 81. In a Bull of 1749, Pope Benedict the Fourteenth lays great stress on the words being heard and understood, "Curandum est ut verba quÆ cantantur plane perfecteque intelligantur," and this is best secured in the unaccompanied chant. In an interesting article of the Dublin Review (New Series, vol. ii. January-April, 1864), the effect of official pronouncements on the questions affecting the plain chant and concerted music is thus succinctly summed up: "1. That music, properly so called, may be admitted as well as plain chant. 2. That the music of the church is to possess a certain gravity and to minister to devotion. 3. That instrumental music may be allowed, under certain restrictions."
[29]Discussions and Arguments, p. 343, Fourth Edit. 1882.
[30] We have it, however, on good authority that a Jesuit Father told a Mr. Okely that "one of our Fathers received him (Mendelssohn) into the Church shortly before his death." Our informant thinks the occurrence took place in Switzerland. If so, the fact ought to be better known than it is. Moreover, he adds, that the late Father W. Maher, S.J., on one occasion, previous to Mendelssohn's Lauda Sion being done at Farm Street, addressed the congregation: "Perhaps you would like to know that the author of the music we are about to hear died a Catholic."
[32] She subsequently resumed talk, trying to draw him out about Ireland and Gounod, but all in vain. It was nearly 3 p.m. ere this morning concert came to an end, when a second lady, introduced by a noble lord, appeared on the scene, and detained him upon questions relative to the state of the soul after death, what St. Thomas had said, &c. Meanwhile sweepers, uninterested in this ill-timed discussion, were pursuing their avocation in the emptying hall, and stewards were set wondering as to when His Eminence would be released.
[33] Mozley, Corr. i. 380. We do not think that Corelli ever was Papal choirmaster. For some years, however, he led the orchestra of the Roman Opera, and was a great friend of Cardinal Ottoboni. How different the TenebrÆ music at St. Peter's can be from that at the Sixtine chapel, is seen by the three Misereres at the former being by Basili, Guglielmi, and Zingarelli, all composers of light opera.
[38] Mrs. J. Mozley to J.H.N., December 1, 1842: "I suppose you are able to make use of your violin now you are at Littlemore. I have been practising hard lately, and wish you could come, that I might turn my practice to good account." (Mozley, Corr. ii. 405.) Father Lockhart, too, refers to Newman's playing at Littlemore "exquisite sonatas of Beethoven." (Paternoster Review, Sept. 1890.) Father Coffin, afterwards Bishop of Southwark, assisted at the musical performances.
[39]Verses on Various Occasions, p. 86, Edit. 1888.
[40]Essays, i. Fifth Edit. 1881; Mozley, Corr. i. 194.
[45] "There is a chant of his composing," writes a friend, "which was reckoned at the time a stroke of genius—quite a new idea. I have it in a Collection made by his father, who was organist of Chichester Cathedral," and Bennett's elder brother "was my master at Chichester in 1842. He used to speak of his brother's genius, and what a loss he was to music."
[48]Verses on Various Occasions, p. 279, Edit. 1888. The well-known tune to this was adapted by him, for the Birmingham Oratory Congregation, from Reinagle's hymn tunes, brought out by subscription at Oxford, and to which he subscribed.
[49]Oratory Hymn Tunes. Arranged by W. Pitts. London: Novello.
[50] Father Lockhart's solitary original tune, harmonized by Mr. A.H. Prendergast, and set to Father Faber's Hymn to St. Joseph, "There are many saints above," is another example of tender sentiment by an amateur that outweighs any technical defect as to settled rhythm.
[51] In 1834, when Keble wrote an Ode on the Duke of Wellington's installation as Chancellor at Oxford, Dr. Crotch was employed to write the music, and Mr. Newman wrote to his friend: "I hope Dr. Crotch will do your ode justice." And on difficulties arising with the composer, he wrote again to Keble: "I like your ode uncommonly. I would not budge one step for Dr. Crotch. His letter is most amusing, and your counter-suggestions are amusing too.... I would go so far for Dr. C. as to offer him your frigate, which certainly does better for music than the long ode." Later on he inquires: "How do you and Dr. Crotch get on?" and Keble replies: "Crotch has swallowed the frigate whole." (Mozley, Corr. ii. 29.)
[52] Mr. Pitts' chords are generally good, but might be considerably improved (more especially at the words "I am the Shepherd true"), by some contrary motion in the harmony.
[53] Pope, Capecelatro, ii. 88. Father Gigli to Tarugi at Naples, about the Roman Oratory, 1587: "Our feast passed off most joyously, and with admirable music.... We had three choirs—two in the galleries, besides one in its accustomed place." (Ibid. ii. 103.)
[55] An examination of the book of words published by Pickering, and which originally numbered eighty-two hymns, since increased from time to time up to one hundred and forty-nine (1888), shows forty-one hymns (original or translated) by Father Caswall, Nos. 5, 8-11, 13, 15-17, 19, 21-28, 33-36, 40, 42, 43, 47, 48, 62, 64, 79, 80, 116, 118, 121, 134, 143-145, 147, 148, 149; thirty by Father Faber, 1, 3, 4, 12, 14, 29, 30, 37, 44, 45, 52, 53, 55, 57, 61, 65, 73, 85, 115, 119, 120, 124, 125, 127-129, 133, 137, 138, 141; thirteen by Father Newman, 31, 32, 38, 41, 49, 50, 51, 54, 63, 67, 76, 78, 81; two by Father Stanfield, 123, 126; one by Father Bittleston, 39 (the familiar "Daily, daily," from St. Anselm, Sancti Anselmi Mariale, p. 15, Omni die, &c., the second part, No. 40, by Father Caswall); one by Father Christie, S.J., 122 ("To Jesus' Heart all burning"); one by Father Vaughan, C.SS.R., 130 ("God of mercy and compassion"); one by Bishop Chadwick, 131 ("Jesus, my God, behold at length the time"); one by Dr. Lingard, 20 ("Hail, Queen of Heaven"). Bishop Heber also contributes, but the remaining Nos. 2, 6, 7, 18, 41, 46, 56, 58, 59, 60, 66, 68, 69, 70, 72, 74, 75, 77, 78, 82, 84, 86, 117, 129, 135, 136, 139, 140, 142, 146, have not yet been identified by the present writer. (See Lyra Catholica, 1849, by Father Caswall, &c.) How beautifully, by the by, has not the late Father Bittleston rendered St. Anselm's hymn. For example:
HÆc Regina, Nos divinÂ, Illustravit gratiÂ. She the Queen who decks her subjects, With the light of God's own grace.
[57]Merry England, No. 30, p. 380. Mon Reale, in Sicily, we think, was his ideal in the Italian style of architecture.
[58] "I think with you that what is called Gregorian is but a style of music: viz., before the fixing of the diatonic scale, and the various keys as rising out of it. The Pagan and Jewish tunes are necessarily in this style. And in this sense certainly the Gregorian comes from the Pagan and the Jewish. The names 'Lydian,' 'Phrygian,' &c., look like Pagan. One should think, however, some must be Jewish. I can't answer your question about the genuineness of the professed specimen of Pagan, as in Rousseau's Dictionary. Will Rousseau answer your question? All true art comes from revelation, to speak generally, I do think, but not necessarily through the Jewish Dispensation," &c. (Dec. 1850, J.H.N.) Mozley, Corr. ii. 479.
[61] By the late Sir John Lambert, K.C.B., and published by Burns in 1849. Its Preface is well worthy of attention, and we note with pleasure his remark, "that while pleading for the restoration of the Ritual Song as the Church system and the music of the people, and as the basis of all that is really grand and ecclesiastical, the writer would not wish to be understood to object to the superadding of the most elaborate music where it can be properly executed, if it does not supersede the Church Song, and is of a character to harmonize with it. Doubtless," he adds, "as the Church employs all the resources of art, as far as in accordance with her own spirit, the most perfect celebration of the Divine Office would be where both could be combined. All would then be impressed and edified, each person according to his peculiar sense, and God would be worshipped with all the magnificence which art can be made to minister." (p. xiii.)
[62] S. Greg. Epist. xxxi. lib. xii. De expos. divers. rerum.
[63] Thus M. TonnellÉ, pupil of Father Gratry, of the Oratory: "Haydn et Mozart, c'est la foi Catholique, c'est la soumission naÏve et spontanÉe, c'est la devotion tendre et vive," which can, of course, be truly said without implying that they are always perfection.
[64] There was nothing, however, so really "magnificent," he said once (speaking of the wind instruments of brass and wood), as a military band.
[65] The following have set "Lead, kindly Light" to music: Canon J. Ballantine-Dykes, Rev. H. Earle Bulwer, Dr. G.A. Macfarren, Dr. S.S. Wesley, Dr. A.R. Gaul, Dr. C.J.B. Meacham, Sir A. Sullivan, J. Barnby, F. Tozer, C. Pinsuti, W. Hamilton, W. Hume, M.A. Wood (Mrs. Harvey), Katharine Rowley, C.T. Gatty, T.W. Barth, A. Allen, F.G. Pincott, H.C. Layton, J. Tilleard, J. Otter, W.H. Walter, J.A. Gardiner, W. Nicholson, J.W.R., and three anonymous composers. We may add that Mr. Rowton has musically essayed the Dream of Gerontius; "J.W.R.," "Warnings" from the Lyra Apostolica; Dr. Macfarren a duet, "O God, Who canst not change" (breviary translation); "R.S.," "All is divine which the Highest has made;" E.W., "Softly and gently, dearly ransomed soul;" the Rev. C.E. Butler, "Praise to the Holiest;" Maria Tiddeman, the same; Mr. Bellasis, the "Haven," "Consolation," "Waiting for the Morning," "The Two Worlds," "The Watchman," and "Heathen Greece;" and an anonymous composer, "The Pilgrim Queen," "There sat a Lady," &c.
[66] From the Lyra Apostolica, and a striking little poem, as indeed are all the few signed , the music by a pupil of the Cardinal.
[67]Verses on Various Occasions, pp. 80, 319; the latter written in 1862, the music by a pupil, and according to the Father "better than my words." The words also appear in the Birmingham book as a hymn (No. 67), entitled "Sacrifice."
[68] Father Faber's Poems, No. 135, pp. 379-381, new edit. 1861. This is not in the London Oratory Hymn Book, but under the heading "Eternity" six of the quatrains (Nos. 1, 8, 9, 11, 15, 16) appear in the Birmingham book as No. 73, and are set to a tune in the minor from Beethoven's sixth trio (for flute, viola, and violoncello), taken andante.
